The High School English Classes You Should Take

The High School English Classes You Should Take SAT / ACT Prep Online Guides and Tips It's no secret that colleges want you to take English class each year of high school. But what exactly are you supposed to be learning? What options do you have to exceed expectations and show off your stuff? And what if you're such a book-loving reader that in the dictionary under "bibliophile" there's a picture of you- how can you really max out your high school English experience? Read on to learn about the common core, honors and AP classes, and going beyond what the standard curriculum offers! What Do Colleges Expect? You'll be hard-pressed to find a college that doesn't expect you to have taken 4 years of English or Language Arts classes. Likewise, the vast majority of high schools require 4 years of English in order for you to graduate. These 4 years are cumulative, meaning each year builds on what you learned before, and now each year is most likely based on the common core standards. So, colleges assume that when you start freshman year, you've been learning all of this: 9th Grade is the setup year you practice basic essay-writing skills you study different literary genres you analyze narrative voice, characters, and plot 10th Grade is the building year you practice the outlining, drafting, and revising process you focus on themes and literary devices like imagery and voice 11th Grade focuses on American literature your writing gets more complex, as you do your own research and use outside sources you now start reading not just for content but also for historical context, period, setting, and point of view this is a good year to take American history as well 12th Grade looks out at the world you read British literature and sometimes world literature, depending on your high school you put all your skills together, analyzing complex literature and nonfiction you produce research papers, presentations, and maybe even multimedia projects this may be a good year to also take European or world history Common Core Reading Standards There's... a lot of choice. Having a guide helps. Want to know the type of books colleges assume you will have read by the time you get in? Here are some examples of what the common core standards want you to be reading in high school, broken down by year: Literature: Stories, Drama, Poetry Informational Texts: Literary Nonfiction and Historical, Scientific, and Technical Texts 9th - 10th Grade The Tragedy of Macbeth by William Shakespeare (1592) "Speech to the Second Virginia Convention" by Patrick Henry (1775) "Ozymandias" by Percy Bysshe Shelley (1817) "Farewell Address" by George Washington (1796) "The Raven" by Edgar Allen Poe (1845) "Gettysburg Address" by Abraham Lincoln (1863) "The Gift of the Magi" by O. Henry (1906) "State of the Union Address" by Franklin Delano Roosevelt (1941) The Grapes of Wrath by John Steinbeck (1939) "Letter from Birmingham Jail" by Martin Luther King, Jr. (1964) Fahrenheit 451 by Ray Bradbury (1953) "Hope, Despair and Memory" by Elie Wiesel (1997) The Killer Angels by Michael Shaara (1975) 11th - 12th Grade "Ode on a Grecian Urn" by John Keats (1820) Common Sense by Thomas Paine (1776) Jane Eyre by Charlotte Brontà « (1848) Walden by Henry David Thoreau (1854) "Because I Could Not Stop for Death" by Emily Dickinson (1890) "Society and Solitude" by Ralph Waldo Emerson (1857) The Great Gatsby by F. Scott Fitzgerald (1925) "The Fallacy of Success" by G. K. Chesterton (1909) Their Eyes Were Watching God by Zora Neale Hurston (1937) Black Boy by Richard Wright (1945) A Raisin in the Sun by Lorraine Hansberry (1959) "Politics and the English Language" by George Orwell (1946) The Namesake by Jhumpa Lahiri (2003) "Take the Tortillas Out of Your Poetry" by Rudolfo Anaya (1995) If you want a very long breakdown of what the common core recommends you study, check out their year-by-year guide. How Can I Exceed Expectations? Honors Classes These will most likely be similar to the standard classes your school offers, but the works you read will be more challenging and the assignments more complex and demanding. In other words, you'll do more work and put in more effort, but you'll be better prepared for college-level writing! Pro tip: in your school, honors classes may be a prerequisite for AP classes. AP English Classes There are two AP English options: AP English Language and Composition if your school offers both AP English classes, this is the one you'll take Junior year this class and exam are all about how writers do what they do: how they use rhetoric, genre, style, and how they play with audience expectations AP English Literature and Composition if your school offers both AP English classes, this is the one you'll take senior year this class and exam have to do with critical analysis, close reading, literary structure, themes, as well as imagery IB Diploma Classes There are three IB literature options: Language A: Literature this course focuses on the analysis of literary texts Language A: Language and Literature this class takes the analysis further by looking at both literary and non literary genres, and by considering how the context of writing or reading something affects its meaning Literature and Performance this class is all about the relationship between literature and theater, focusing on close reading, critical writing and the aesthetic and symbolic elements of performance Both Language A classes are offered in a variety of languages, and Literature and Performance can be taken in French or Spanish by special request, so these may be great options for non-native speakers or bilingual students. Some IB diploma classes can be taken online, but the closest you'll come to English online is the Film SL class, which is all about the history, formal elements, technical production, and of course critical analysis of film. What If I'm an English Class Junkie? Is There More? Please, sir, may I have some more... English class? In this bowl, for some reason? Check Out Your School's Electives This is the time to think just a little bit outside the box! For example, classes in creative writing offer a great window into later being able to see how someone else did it. Electives in the humanities can often offer what is basically a modified literature class. And there are many other subjects that focus on reading, analyzing, and writing about texts- subjects like philosophy, theater studies, world religions, psychology, or anthropology. Design Your Own Course Your school is your resource, so don't be afraid to get creative. Consider asking a teacher to help you set up an independent project or independent study to explore your interests! For example, in my senior year, on top of my coursework, with the help of my favorite English teacher I designed an independent study of reading and writing poetry. It was incredibly rewarding! Take High School Classes Online For instance, Stanford University has an online high school which features 7 English courses and lets you enroll to take as many of them as you want. Brown University also offers a set of online pre-college courses. They have 4 related classes on nonfiction, travel writing, formal college writing, and a humanities seminar on evolutionary thought. Take Summer Classes on College Campuses You can check out our guide to the Summer Institute for the Gifted or all the info we have collected about Stanford's two summer programs. Take Some Online College-Level Classes Are you super confident in your abilities or interested in something specific you can't find anywhere else? Maybe the best thing for you to do is prove yourself on a whole another level! Just think, doing well on a college-level course will look great on your transcript, and you might even get college credit for it! What's Next? Need to improve your acquaintance with key literary terms? Use our articles on personification, imagery, rhetorical devices, point of view, literary elements, assonance, and iambic pentameter to aid you in your quest. Still wrestling over whether AP or IB is better? Check out our guide to deciding between them. Curious how your writing skills will apply to the SAT? Read about how to improve your SAT writing score, or better yet, how to get a perfect 800 and how to get a 12 on the SAT essay. And don't forget to read about the ACT Writing test and SAT essay. Want to improve your SAT score by 160 points or your ACT score by 4 points? We've written a guide for each test about the top 5 strategies you must be using to have a shot at improving your score. Download it for free now:

Nobel Prize History - How the First Nobel Prizes Were Awarded

Nobel Prize History - How the First Nobel Prizes Were Awarded A pacifist at heart and an inventor by nature, Swedish chemist Alfred Nobel invented dynamite. However, the invention that he thought would end all wars was seen by many others as an extremely deadly product. In 1888, when Alfreds brother Ludvig died, a French newspaper mistakenly ran an obituary for Alfred which called him the merchant of death. Not wanting to go down in history with such a horrible epitaph, Nobel created a will that soon shocked his relatives and established the now famous Nobel Prizes. Who was Alfred Nobel? Why did Nobels will make establishing the prizes so difficult? Alfred Nobel Alfred Nobel was born on October 21, 1833, in Stockholm, Sweden. In 1842, when Alfred was nine years old, his mother (Andrietta Ahlsell) and brothers (Robert and Ludvig) moved to St. Petersburg, Russia to join Alfreds father (Immanuel), who had moved there five years earlier. The following year, Alfreds younger brother, Emil, was born. Immanuel Nobel, an architect, builder, and inventor, opened a machine shop in St. Petersburg and was soon very successful with contracts from the Russian government to build defense weapons. Because of his fathers success, Alfred was tutored at home until the age of 16. Yet, many consider Alfred Nobel a mostly self-educated man. Besides being a trained chemist, Alfred was an avid reader of literature and was fluent in English, German, French, Swedish, and Russian. Alfred also spent two years traveling. He spent much of this time working in a laboratory in Paris but also traveled to the United States. Upon his return, Alfred worked in his fathers factory. He worked there until his father went bankrupt in 1859. Alfred soon began experimenting with nitroglycerine, creating his first explosions in early summer 1862. In only a year (October 1863), Alfred received a Swedish patent for his percussion detonator - the Nobel lighter. Having moved back to Sweden to help his father with an invention, Alfred established a small factory at Helenborg near Stockholm to manufacture nitroglycerine. Unfortunately, nitroglycerine is a very difficult and dangerous material to handle. In 1864, Alfreds factory blew up - killing several people, including Alfreds younger brother, Emil. The explosion did not slow down Alfred, and within only a month, he organized other factories to manufacture nitroglycerine. In 1867, Alfred invented a new and safer-to-handle explosive - dynamite. Though Alfred became famous for his invention of dynamite, many people did not intimately know Alfred Nobel. He was a quiet man who did not like a lot of pretense or show. He had very few friends and never married. And though he recognized the destructive power of dynamite, Alfred believed it was a harbinger of peace. Alfred told Bertha von Suttner, an advocate for world peace, My factories may make an end of war sooner than your congresses. The day when two army corps can annihilate each other in one second, all civilized nations, it is to be hoped, will recoil from war and discharge their troops. * Unfortunately, Alfred did not see peace in his time. Alfred Nobel, chemist and inventor, died alone on December 10, 1896, after suffering a cerebral hemorrhage. After several funeral services were held and Alfred Nobels body was cremated, the will was opened. Everyone was shocked. The Will Alfred Nobel had written several wills during his lifetime, but the last one was dated November 27, 1895 - a little over a year before he died. Nobels last will left approximately 94 percent of his worth to the establishment of five prizes (physics, chemistry, physiology or medicine, literature, and peace) to those who, during the preceding year, shall have conferred the greatest benefit on mankind. Though Nobel had proposed a very grandiose plan for the prizes in his will, there were a great many problems with the will. Relatives of Alfred Nobel were so shocked that many wanted the will contested.The format of the will had formal defects which could have caused the will to be contested in France.It was unclear which country Alfred had his legal residence. He was a Swedish citizen until age nine, but after that he had lived in Russia, France, and Italy without becoming a citizen. Nobel had been making plans for a final home for himself in Sweden when he died. The location of residency would determine what countrys laws would govern the will and the estate. If determined to be France, the will could have been contested and French taxes would have been taken.Because Nobel had wanted the Norwegian Storting (parliament) to choose the peace prize winner, many charged Nobel with a lack of patriotism.The fund that was to implement the prizes did not yet exist and would have to be created.The organizations that Nobel named in his will to award the prizes had not been asked to take on these duties prior to No bels death. Also, there was no plan to compensate these organizations for their work on the prizes. The will did not state what should be done if no prize winners for a year were found. Because of the incompleteness and other obstacles presented by Alfreds will, it took five years of hurdles before the Nobel Foundation could be established and the first prizes awarded. The First Nobel Prizes On the fifth anniversary of Alfred Nobels death, December 10, 1901, the first set of Nobel Prizes were awarded. Chemistry: Jacobus H. vant HoffPhysics: Wilhelm C. Rà ¶ntgenPhysiology or Medicine: Emil A. von BehringLiterature: Rene F. A. Sully PrudhommePeace: Jean H. Dunant and Frà ©dà ©ric Passy * As quoted in W. Odelberg (ed.), Nobel: The Man His Prizes (New York: American Elsevier Publishing Company, Inc., 1972) 12. Bibliography Axelrod, Alan and Charles Phillips. What Everyone Should Know About the 20th Century. Holbrook, Massachusetts: Adams Media Corporation, 1998. Odelberg, W. (ed.). Nobel: The Man His Prizes. New York: American Elsevier Publishing Company, Inc., 1972. Official Website of the Nobel Foundation. Retrieved April 20, 2000 from the World Wide Web: nobel.se

Female Songwriters Paper Essay Example | Topics and Well Written Essays - 750 words

Female Songwriters Paper - Essay Example While Pit Bull, Rod Stewart, and John Mayer write mostly about the shallow physicality of their relationships with women. Alanis Morisette, for one, is known as the Queen of Angst when it comes to her songs. Her music can best be described as raw and her lyrics, direct to the point but with a softer touch. Take for example her lyrics to the song Perfect (1995) which talks about the sheer physical perfection of the man she is with. She sang; â€Å"If you're flawless, then you'll win my love , Don't forget to win first place , don't forget to keep that smile on your face , be a good boy , try a little harder , you've got to measure up and make me prouder†. The lyrics that Ms. Morisette chose to use has a more subtle way of objectifying men. Her lyrics contain sexual innuendos which are never crass nor blatant. Instead, she offers a sensitive portrayal of how men must work just as hard as women to win a partner's love. For her, love is not all about the physicality of the act but rather what goes on behind it. It is through that compatibility and understanding that a woman becomes truly proud of her man. Male songwriter's also have similarly themed lyrics. However, men have a more direct to the point and mostly sexual stance when composing their songs. Take for example the lyrics in the John Mayer song Your Body is a Wonderland (2001). He sings the following lyrics to his beloved; â€Å" Something 'bout the way the hair falls in your face . I love the shape you take when crawling towards the pillowcase . You tell me where to go and though I might leave to find it I'll never let your head hit the bed without my hand behind it .† The song can almost be seen as the male counterpart of Morisette's lyrics since his song dwells on the perfection of the female body but without the almost poetic description of the sexual connection of the female physique with a â€Å"perfect† love borne out mostly out of lust and desire than compatibility. Both songs speak of the act of the emotions the songwriters are feeling during the act of lovemaking. Yet Morisette is more ambiguous about it, thus causing her listeners to think more about what her lyrics truly mean. While Mayer leaves very little to the imagination as men prefer to be more directly descriptive in their lyrics than women one cannot deny that he does his best to romanticize the act of lovemaking in a way that only men seem to understand. Although the lyrics are poetic, there is no mistaking what the topic of the song is all about. This method of writing lyrics is something that female songwriter's do not normally do because the female lyrics tend to have veiled double meanings attached to them. Both men and women clearly write about their relationship troubles. But men have a lesser emotional investment in the relationship. Thus they see a different solution to the problem than women. This can be heard in the way Pit Bull described the end of his relationship with a girl in h is 2011 hit Hey Baby where he rapped about the freedom that being a single man brings to his life; â€Å" I’m a Dade county, self paid self made millionaire . I used to play around the world, now I’m around the world - gettin paid. Girl problems, no problems , doin anything that won’t solve em . I wanna get witcha mami, now let me see what the lord split

Criticism on William faulkner on the short story A Rose for Emily Research Proposal

Criticism on William faulkner on the short story A Rose for Emily - Research Proposal Example Life was not easy for the members of the upper class either, with their clinging to obsolete customs and traditions. It will be shown that Miss Emily Grierson in Faulkner's "Rose for Emily" took advantage of her upper class upbringing at the same time becoming a victim to the same tradition of class difference. "A Rose for Emily" is a seminal work by William Faulkner in which he has portrayed the various characters in a small town in America. Set in the period between the late nineteenth to early twentieth century, the story is steeped in tradition. This short story was the first of Faulkner's stories to be published in a national publication, when it was published in the Forum in 1930. He narrates the story of Emily Grierson and her doomed love affair. Using a technique not much used in those days, Faulkner goes back and forward in time making the story very effective .Emily Grierson belonged to a wealthy upper class family which had lost all their money, but not their iron pride. Thinking her too good for the local young men, Emily's father had never allowed her to date anyone." None of the young men were quite good enough for Miss Emily and such."(Faulkner) When the father dies, Emily refuses to accept his death. Soon after, Emily's unsuitable suitor Homer Barron, who did not belong to her class arrives .He goes about with her in spite of the disapprobation of the towns' people. The minister trying to advise Emily and the minister's wife writing to Emily's cousins about the unsuitable Homer Barron, the Yankee foreman are typical of the class distinction which was prevalent in those days. The cousins arrive, and Barron is seen no more except once. Emily buys arsenic ostensibly to kill some rats, which leads the townspeople to think that she will commit suicide. After that Emily shuts herself up in her house with the old negro servant to care for her. She adamantly refuses to pay taxes citing a long expired grant by a former mayor. In a macabre end to the story, after Emily's death, the townspeople discover the skeleton of Homer Barron in the locked up bedroom upstairs, with a strand of 'long gray hair' in the pillow next to it. Faulkner has used the inherent class distinctions prevalent in the small towns of the American South to develop the story. He begins the story with Emily's death." And now Miss Emily had gone to join the representatives of those august names where they lay in the cedarbemused cemetery among the ranked and anonymous graves of Union and Confederate soldiers who fell at the battle of Jefferson." (Faulkner) Only in death did the 'august names' and the anonymous soldiers come together. Emily was a tradition in herself for the town with not many other 'august names'. Faulkner's preoccupation with heredity is evident in his works. His characters are haunted by their traditions .He draws upon his observations in Oxford, a small town in the American South where he lived. According to the Encyclopaedia Britannica, "Oxford provided Faulkner with intimate access to a deeply conservative rural world, conscious of its past and remote from the urban -industrial mainstream". (E.B.)We see the town of Jefferson portrayed by Faulkner has all the characteristics of a deeply conservative world. Emily goes on ignoring the notices to pay taxes,

Dionysus :: essays research papers

Dionysus   Ã‚  Ã‚  Ã‚  Ã‚  Dionysus was the most widely worshipped and popular god in ancient Greece. It's not difficult to see why; he was their god of wine, merriment, ritual dance, warm moisture, and later, civilization. He was often depicted as a handsome young man, dressed in fawnskin, and carrying a goblet and an ivy- covered staff.   Ã‚  Ã‚  Ã‚  Ã‚  Some myths hold that Dionysus was the son of Zeus--the king of the god-- and Persephone--queen of the underworld--but most myths state that he is the son of Zeus and a mortal woman named Semel. This woman Semele was not any mortal, though. She was a princess, and a beautiful one at that. Zeus was notorious for being rather prolific, and when his wife, the goddess Hera heard that he had gone off and mated with a mortal, she became quite upset. Hera, in an attempt to exact her revenge, appeared to Semele and told her to ask Zeus to appear to her in his divine form. When Zeus obliged, Semele was immediately consumed in flames, for no mortal can look upon a god in his natural state. However, Zeus saved the unborn Dionysus by sewing him up in his thigh, thus incubating him.   Ã‚  Ã‚  Ã‚  Ã‚  What happened next is different in every story. Some myths say he lived with a king and queen loyal to Zeus until Hera discovered him, and, in a jealous rage, warped their brains. In this version of the story, Dionysus was turned into a goat by his father in an attempt to hide him from Hera; from then on he had small horns on his head.   Ã‚  Ã‚  Ã‚  Ã‚  After he was safe, he went to live with the nymphs, who taught him to make wine. Hera eventually found him again, and this time she also warped his brain. The nymphs rejected him, and he went to live with the satyrs, who were men with goat legs and horns, and their leader Silenus. Dionysus traveled with the satyrs, who disgusted everyone they encountered with their rude, drunken behavior.   Ã‚  Ã‚  Ã‚  Ã‚  Silenus is usually portrayed as a fat drunken man who rides on an ass. He was once captured by King Midas. When Dionysus intervened, Midas freed Silenus in exchange for the power to turn all he touched into gold. Dionysus and his band eventually encountered the maenads. The maenads were a group of wild, warlike creatures. They were horribly vicious, and unfortunately, they were also incredibly stupid. They started quite a few unsuccessful wars against kingdoms in Africa.   Ã‚  Ã‚  Ã‚  Ã‚  When Zeus finally found Dionysus again, he returned his mind to normal. However, Dionysus refused to give up his unruly traveling companions.

Endangered Languages Essay

Languages that are threatened with the loss of natural generational transmission are referred to as endangered languages. Language endangerment generally occurs in the later stages of language shift, that is, when a speech community moves away from their earlier variety, dialect, or language to a new one or new set thereof (Fishman, 1991). While the processes of endangerment and extinction have likely been constant throughout the history of human language, the scale and the pace of this loss—whose cumulative effect is the reduction of linguistic diversity—in the modern era appears to be uniquely intense, with up to half or more of the currently estimated 5,000–6,000 languages spoken today expected to be lost within a century or so (Hale et al. , 1992). Both the nature of this loss and its consequences are complex and involve deep psychosocial factors as much as purely linguistic ones. Two common reactions to language endangerment include language revitalization and linguistic documentation, both of which present extensive challenges and opportunities for applied linguistics. The sources of language endangerment are not uniform, but do generally present recurrent themes on both the broader external social/political/economic and the narrower community-internal and individual scales, corresponding in broad strokes to what Grenoble and Whaley (1998) refer to as macro- and micro-factors. From the macro-factor perspective, language shift can occur from sheer population loss of a speech community, due to war, disease, famine, or rather commonly, economically motivated outmigration, that is, dispersal into a diaspora that makes daily use of a given language no longer practical or meaningful/effective. Demographically stable communities, however, experience language endangerment just as readily when they are induced to shift for other reasons. Loss of prestige is a very common factor: It can be introduced through schooling, often reinforced by physical or social/emotional punishment of young speakers, or simply as a social contempt expressed in adult society by speakers of the dominant to the minority. As dominant languages are typically those spoken by the socioeconomically dominant, language shift is very often rationalized—both on the part of the speech community itself, or by outsiders—via ideological narratives of economic practicality, or homogeneous national identity. Hence, while there are exceptions, language endangerment is most typically experienced by minority and socioeconomically marginalized populations. In addition to psychological internalization of the above factors, the internal or microfactor side of language loss has as a primary component the local disruption of the social spaces in which the language has normally been used, and the shrinking of the range of such spaces. As most endangered languages have a primarily oral tradition (or no written tradition at all), full acquisition and rich ? uency depends entirely on personal experience with other speakers. Reduction of the range of domains in which an individual can be exposed to the language commonly results in a feedback effect: otherwise ? uent speakers who have knowledge or performance gaps are judged as imperfect speakers by more broadly experienced speakers (typically though not exclusively elders), leading the former to avoid situations of language use even more, and so intensify the process of contraction. As the factors affecting transmission are very ? uid, languages can shift from stable to endangered extremely quickly, often within the space of one generation. For the same reason, endangerment is often not salient even as it happens, as since three coexisting generations of grandparent, parent, and child can represent complete ? uency, intermediate competence, and complete non-speaker status. One still-living full generation of ? uent speakers can and often does give the illusion that the language is not seriously threatened; even more so if the majority of the community are ambivalent or antipathetic with regard to maintaining the language. Language loss is not uniform, either. During the process of language shift, competence in the language can range from various degrees of ? ency, to â€Å"remembered† speaker (full ? uency from childhood but fallen into disuse), to rusty speaker (substantial but limited competence due to an early shift from the threatened language to another), to semi-speaker (characterized by imperfect acquisition of the complete earlier form of the language, due to limited exposure) (Sasse, 1992). From this can also emerge â€Å"young people’s languages†: complete but markedly distinct variants of the source language used by younger generations that have been substantially altered by these sorts of incomplete transmission processes (Schmidt, 1985). Even after a speech community is reduced beyond even one notional native speaker, a language or features thereof can persist: in more or less full lexicogrammatical form as a liturgical or literary language, or both (as in the case of Hebrew, Latin, and Classical Greek, among others), or as a set of rote-memorized ceremonial phraseology, or as features in? uencing the variety of the replacing language(s) now spoken by descendants of the former speech community. The lexical, phonological, and syntactic in? ence of Irish Gaelic on varieties of English now spoken monolingually in Ireland is a frequently cited example. Semantic and pragmatic features of the earlier language too may cross over. Mixed languages may also persist after a community has shifted away from an original contributory language. Michif and Media Lengua—results of contact between French and Cree, and Spanish and Quechua, respectively—for example, have replaced the indigenous source language in some commu nities; such mixed languages can and do also exist alongside populations continuing to speak their source languages. Complete language loss itself can be problematicized. The notion of dormant or â€Å"sleeping† language has been developed for languages that have experienced complete disruption of natural generation-to-generation transmission, but that persist in substantial enough recorded form to permit the possibility of revival as a useable linguistic instrument (Leonard, 2007). Wampanoag and Miami represent two (Algonquian) languages currently being actively revived by descendants of the original speech communities, to the extent that children are being raised with the revived language as one of their ? st languages. Israeli Hebrew is perhaps the most famous case of a sleeping language subsequently revived as a full-? edged daily use language. Zuckerman (2009) and Leonard (2007) offer thorough discussions of the relationship between such revived languages and their source(s), particularly the ? rst languages of their revivers. Finally, the application of the terms endangered and extinct have both been called into question as inherently stigmatizing and, particularly when the latter is applied to dormant languages, inaccurate, and disenfranchising (Rinehart, 2006). The current intensity of language loss can be attributed both to essentially technological factors such as increased mobility (physical, social, and economic), telecommunications, popular media, education, and also to ideological and political factors such as the spread of the notionally homogeneous nation-state and cultural imperialisms of various kinds. Language endangerment is thus strongly connected to other types of sociocultural dislocation. With the loss of a given language also ripple out a host of ancillary losses. While loss of traditional language need not entail complete loss of traditional culture, language loss is more often than not accompanied by loss of bodies of knowledge traditionally passed on via the language, ranging from the ceremonial/religious, historical, literary/rhetorical, technological, medical, and so on (Harrison, 2007; Evans, 2010); it is often observed that the loss of a language results in the loss of a whole unique worldview implicitly and explicitly encoded in language-speci? c form and usage. For discussion of how language loss affects and re? cts the broader questions of biocultural/intellectual diversity, see Fishman (1982), Maf? (2001), and Dalby (2003), as well as Harrison (2007) and Evans (2010). Often generational transmission of social norms and values is affected when languages are lost; as is coherent community identity. A traditional language frequently functions as a pervasive and potent marker of membership therein: both emotional and intellectual connections to previous/ancestral generations can be rendered much more tenuous with its loss. Sheer grief (and at times even shame) at the loss of a cherished part of personal, familial, and community heritage is a situation-speci? c but very common experience, salient and wrenching to its affectees, even as it can be missed or underplayed by strictly materialistic/utilitarian approaches to the role of language in human life. For linguistics and related cognitive sciences, what is lost is the opportunity to investigate the full diversity of human linguistic potential. This is particularly crucial in the testing of universal claims about possible versus impossible human linguistic systems. Currently endangered and recently extinct languages have all offered unique contributions to the understanding of human language and by extension, human cognition. Damin, an auxiliary language traditionally used among the Lardil of Wellesley Island, North Queensland, Australia, for example, uses several phonetic mechanisms not found in any other known languages (and the only known click systems outside of southern Africa). It also exhibits an unparalleled intellectual creation: a carefully semantically abstracted lexicon of approximately 200 elements that can express the full range of the everyday Lardil language’s much richer system (Hale, 1998). Many other features of human language which are evidently quite common as possible grammatical options remain under-researched and poorly understood because they are, by historical accident, chie? y only found in languages that are currently endangered/threatened: among others, these include polysynthesis, switch reference, and complex evidential contrasts. At present there are two frequent active responses to language endangerment (i. e. , beyond simple acceptance): language revitalization and language documentation. Both pose interesting challenges for applied linguistics. At the time of this writing, there is an emergent consensus (though see Newman, 1998, for an alternative view) that it is incumbent upon linguists (and policymakers) to support language revitalization, namely, active efforts to recover and restore an endangered language to active daily use in a speech community (Hinton & Hale, 2001; for introductory handbooks, see Hinton, 2002, and Grenoble & Whaley, 2006). Simultaneously, an effort has emerged to document as many features of endangered languages as possible before their potential or even likely disappearance. Currently several institutions have been established that speci? cally support language documentation (see Online Resources). While language documentation of course can contribute substantially to language revitalization, the priorities of each do not necessarily overlap completely. Since unambiguous examples of thoroughly successful language revitalization efforts are still quite rare, focusing on documentation rather than revitalization can, particularly in academic circles, be seen as a more realistic use of limited resources to address language loss (see Bowern & James, 2010, for a challenge to this view). That said, documentation and revitalization efforts more often than not go hand in hand, particularly because endangered language speech communities typically expect documentation (still most often done by outsiders) to contribute substantially to revitalization efforts.

Summary Of The Yellow Wallpaper - 1396 Words

Short Paper: â€Å"The Yellow Wallpaper† Out of all the stories we have read in class so far, â€Å"The Yellow Wallpaper† was the only story that stood out to me the most. I was drawn to this story because it was very disturbing and thought-provoking. It made me wonder how the narrator had her nervous disorder in the first place, or if she was really insane at the beginning of her story. Some people might say that the narrator was insane from the beginning, but I actually disagree. I believe that she eventually became insane at some point in her narrative, but I don’t think it was just the yellow wallpaper that made her crazy. In my opinion, it was her husband’s treatment and denial of her sickness that drove her to insanity. â€Å"John is a physician—perhaps that is one reason I do not get well faster. You see he does not believe I am sick! And what can one do? If a physician of high standing, and one’s own husband, assures friends and rela tives that there is really nothing the matter with one but temporary depression—a slight hysterical tendency—what is one to do?† (Page 1) When the narrator says that John was a physician of high standing, it gave me the impression that she felt an inferiority complex towards him. She seems pretty aware of her illness at the beginning, but she felt like there was nothing she can do because of her husband’s condescending attitude towards her. The first page says a lot about both of their personalities. John was described as someone who is extremelyShow MoreRelatedSummary Of The Yellow Wallpaper 1049 Words   |  5 PagesSheren Tawfik Hum 1 7:45-9:35 class The yellow wallpaper â€Å"Live as domestic a life as possible†¦ And never touch pen, brush, or pencil as long as you live† An ardent proponent of such causes as women s suffrage and their societal and economic independence. Gilman shows how the rest cure, with its imposed captivity, actually does more harm than good, driving the narrator of the story insane. The first person narrator is a wife and a mother suffering from what is most like postpartum depressionRead MoreSummary Of The Yellow Wallpaper 1783 Words   |  8 PagesThomas Scott D. Sanders ENG 102 BC2 November 13, 2015 Jennie needed to have the opportunity to work, to grow and to make connections outside of the home Introduction The yellow wallpaper is a thrilling story written by Perkins Gilman, Charlotte. The setting depicts the Victorian era when women had no place in the society because the society was dominated by men. Therefore, the women characters like Jennie were trying to rise and discover their place in the society but different obstacles preventedRead MoreSummary Of The Yellow Wallpaper And A P1484 Words   |  6 PagesT In both, The Yellow Wallpaper by Charlotte Perkins Gilman and AP by John Updike, there are similarities and differences between the common themes and symbols in the stories. Furthermore, through the stories you can see the development of the characters. In general, The Yellow Wallpaper, the main character is about a young, middle-class, newlywed, and a new mother, that is undergoing depression. In the story, the narrator tells the story through a strict first person point of view. In which theRead MoreSummary Of The Yellow Wallpaper By Charlotte Perkins Gilman1584 Words    |  7 PagesEngendering: Revising the Marginalized Subjugation of Women in Society The true message of what the story â€Å"The Yellow Wallpaper† implied has been pondered over for several generations along with being evaluated by many scholarly writers. The story was written by the talented poet Charlotte Perkins Gilman in the nineteenth-century and it conveyed many ideas about symbolism, feminism and individualism. It provides the reader with her viewpoint on society’s subjugation of women by the patriarchalRead MoreSummary Of The Yellow Wallpaper By Charlotte Perkins Gilman1792 Words   |  8 Pagestale of women breaking free or trying to make an attempt to leave, but many of the women are used to it and continue to let the male take the leading and dominant role within the marriage and/or relationship because of the social norms. The Yellow Wallpaper, by Charlotte Perkins Gilman, tells the story of a woman’s oppression and suppression by society and her husband during the 1800’s. The domineering, patriarchal control of society impedes the roles that women in the society deserve to have.Read MoreSummary Of The Yellow Wallpaper By Charlotte Perkins Gilman And The Novel The Key By Junichiro Tanizaki1694 Words   |  7 Pageseyes of women, would we see the world a different way? Would we all be considered hysterical? Or would we just all be â€Å"normal†? In the short story The Yellow Wallpaper by Charlotte Perkins-Gilman and the novel The Key by Junichiro Tanizaki we see the metamorphosis of two women under two very different scenarios. The unnamed woman in The Yellow Wallpaper is stuck in a room where she transforms into a completely different soul. In The Key, the wife, Ikuko appears to also transition throughout the novelRead MoreIndividualism In The Yellow Wallpaper And Chopins The Aw akening723 Words   |  3 PagesSometimes I even have trouble doing it.† Individualism being the habit or principle of being independent and self- reliant plays a key role in two fascinating pieces of literature with the two leading characters. Both Gilman the author of â€Å"The Yellow Wallpaper and Chopin the author of The Awakening utilize various literary devices to develop their overall theme of showcasing individualism and the true meaning behind it. Initially, both authors use characterization to convey their overallRead MoreThe Relation Between the Setting And the Character In The Yellow Wallpaper and Big Two-Hearted River601 Words   |  3 PagesThe Relation Between the Setting And the Character In The Yellow Wallpaper and Big Two-Hearted River The aim of this paper is to analyze the importance and relation of the setting and characters in the two short stories: The Yellow Wallpaper by Charlotte Perkins Gilman and Ernest Hemingways Big Two-Hearted River. The setting in The Yellow Wallpaper helps illustrate the theme of solitary confinement and exclusion from the public resulting in insanity. The houseRead MoreThe Lottery, By Shirley Jackson And The Yellow Wallpaper1302 Words   |  6 Pages Reading The Lottery by Shirley Jackson and The Yellow Wallpaper by Charlotte Gilman make the reader so passionate to know what is going to happen next because they are two of the most expressive and meaningful stories that have lots of great deep meanings. These stories share so many similarities when it comes to symbols, themes, and conflicts. Although The Lottery and The Yellow Wallpaper do not have the same plot, their themes have some similarities like following unfair traditionsRead MoreYellow Wallpaper Close Reading911 Words   |  4 PagesThe Yellow Wallpaper Close Reading The narrator of The Yellow Wallpaper by Charlotte Perkins Gilman discovers that the woman trapped in the yellow wallpaper is really herself and reflects that there are countless other women trapped and oppressed by society just as she is. Through her descent into madness, the narrator is able to finally free herself, but not without losing her sanity in the process. When the narrator states: â€Å"I pulled and she shook, I shook and she pulled† (Gilman 517), this